Previously published as a special issue of British Journal of Middle East Studies, this volume focuses on leading figures within Iran between 1997-2007 and their visions and works that are related to Iranian society. A cross section of opinion is investigated, including the clerical (‘Ali Khameneh’i, Muhammad Khatami and Mohsen Kadivar), the dissident (Mohsen Makhmalbaf), and the poetic (Qaysar Aminpour) and cinematic. The past decade has been a traumatic one in Iran, and the essays in this volume testify to the vibrancy of the responses from Iranian thinkers. It may be a surprise to some observers that in some senses, ‘Ali Khameneh’i may be considered a ‘liberal’ whereas Muhammad Khatami’s own credentials as an advocate of rapprochement with the West needs to be qualified. Responses to Western culture continue to remain centre-stage, and this is also nowhere more apparent than in the complex relationship between the directors of Iranian films (perhaps Iran’s most celebrated export these days) and their audiences, both Iranian and Western. Despite some viewing Iran as a pariah state, it remains firmly connected to the West and to modern technology, typified in the practice of blogging that is enjoyed by so many Iranians, which has provided a new space for expression and thinking.

Sufism is often understood to be the mystical dimension of Islam, and many works have focused on the nature of "mystical experiences" and the relationship between man and God. Yet Sufism was a human response to a wide range of contexts and circumstances; the fact that Sufis lived in society and interacted with the community necessitating guidance on how to behave. This book examines the development of Persian Sufism, showing it to be a practical philosophy of the everyday rather than just a metaphysical phenomena. The author explores the ethic of futuwwat (or jawanmardi), an Iranian code of honour that emphasised loyalty, humility, generosity and bravery. Although inevitably some Sufis spiritualised this code of honour and applied it to their own relationship with God, the ethic continued to permeate Sufi behaviour on a more mundane level, typified by the strong links between Sufis and certain trades. Drawing on field research in Iran, as well as detailed analysis of both Arabic and Persian texts and new materials that have been published in Iran in recent years, this is the first book in English to provide a history of Persian Sufi-futuwwat, As such, this book is an important contribution to the study of Persian Sufism, and to the fields of Islam, history and religion.

The Iranian Constitutional Revolution was the twentieth century’s first such political movement in the Middle East. It represented a landmark in Iranian history because of the unlikely support it received from Shi‘ite clerics who historically viewed Western concepts with suspicion, some claiming constitutionalism to be anti-Islamic. Leading the support was Muhammad Kazim Khurasani, the renowned Shi‘ite jurist who conceived of a supporting role for the clergy in a modern Iranian political system. Drawing on extensive analysis of religious texts, fatwas, and articles written by Khurasani an other pro- and anti-constitutionalists, Farzaneh provides a comprehensive and illuminating interpretation of Khurasani’s religious pragmatism. Despite some opposition from his peers, Khurasani used a form of jurisprudential reasoning when creating shari‘a that was based on human intellect to justify his support of not only the Iranian parliament but also the political powers of clerics. He had a reputation across the Shi‘ite community as a masterful religious scholar, a skillful teacher, and a committed humanitarian who heeded the people’s socioeconomic and political grievances and took action to address them. Khurasani’s push for progressive reforms helped to inaugurate a new era of clerical involvement in constitutionalism in the Middle East.

Shi'i Islam in Iranian Cinema puts the films of established masters like Abbas Kiarostami and Bahram Beyzaie and relative newcomers such as Majid Majidi, within the context of the dynamic and vibrant debates regarding the vital concepts which underpin the culture, religion and state of Iran. Pak-Shiraz analyses the ways in which religion and the sacred is depicted and alluded to in films, such as Kiarostami's The Taste of Cherry, Kamal Tabrizi's The Lizard or Majidi's The Colour of Paradise. Exploring their philosophical meanings, and tracing their roots in mysticism and Sufism, Pak-Shiraz combines both Western thought and scholarship concerning the role of religion in film, and debates amongst Iranian academics, clerics, and authorities. She thus examines the varied reactions to the ways in which religion and culture are discussed not only cinematically, but also politically, socially and philosophically. --

Iran is one of the most important U.S. foreign policy concerns but is extraordinarily difficult to engage. The authors assess current political, ethnic, demographic, and economic trends and vulnerabilities in Iran, then offer recommendations on U.S. policies that might foster the trends beneficial to U.S. interests. However, if these trends do take root in Iran, seeing them come to fruition will take time and, therefore, patience.

Today, almost a generation has passed since the Iran–Iraq war and the memory of it is set to diminish with each passing generation. The following questions emerge. Can we say that the gradual disappearance of war’s memory means that, increasingly, Iranians will see the Iran–Iraq war solely as an historical event? How can we defend or reject this idea? Today, with which elements and values should we look at the Iran–Iraq war memorials and ceremonies? To what extent will war museums and materials culture be influenced by these new values? In the period during and immediately after the Iran–Iraq war (1980-88), national bereavement and commemoration of martyrs was neither apparent in common state policy nor a social need. Even at the turn of the 21st century, anyone walking through Iranian cities, many of which had been the main scene of the bloody massacre and direct targets of the Iraqi Republican Guard, will have found traces of the terrible, almost unimaginable, human losses. However, today’s Iranians can see modern war memorials and monuments in many parts of the urban and rural landscape. Yet, at the same time, the changing landscape has separated Iranians from such remnants of the violence. It can be argued that many people, in their wish to look forward to a more hopeful future, do not wish to be reminded of this period in Iranian history. This book was originally published as a special issue of Visual Anthropology.

On March 21, 2007, the RAND Corporation held a public conference on Capitol Hill, "Coping with Iran: Confrontation, Containment, or Engagement?" Participants sought to discuss the benefits and drawbacks of various policy options to address the Iranian challenge. This report summarizes remarks presented during the conference. The views expressed in this document are those of the participants, as interpreted by the RAND Corporation.

Persian Literature and Modernity recasts the history of modern literature in Iran by elucidating the bonds between the classical tradition and modernity and exploring textual, generic and discursive formations through heterodoxical investigations. This is first done through the rehabilitation of concepts embedded in tradition, including the munāzirah (debate), Ahrīman (the demonic), tajarrud (radical aloneness) and nāriz̤āyatī (discontent). Following this are broader structural and processual treatments, including the early formation of the genre of the social novel, the international dimension of Persian and Persianate canon formation, and the development of salvage ethnography and anthropological discourse in Iran. The book offers a paradigm shift in the historicization of modern Persian literature by supplanting the ideologically determined category of the modern with a historically grounded understanding of modernity. Covering literary experiments from the twelfth to the twentieth centuries, the chapters in this volume make a case for stepping outside the bounds of orthodox literary scholarship in Iranian studies with its associated political and orientalist determinants in order to provide a more nuanced conception of literary modernity in Iran. Offering an alternative reading of modernity in Persian literature, this book is an invaluable resource for scholars and students interested in Modern Persian literature and Iranian Studies.

Why were urban women veiled in the early 1900s, unveiled from 1936 to 1979, and reveiled after the 1979 revolution? This question forms the basis of Hamideh Sedghi's original and unprecedented contribution to politics and Middle Eastern studies. Using primary and secondary sources, Sedghi offers new knowledge on women's agency in relation to state power. In this rigorous analysis she places contention over women at the centre of the political struggle between secular and religious forces and demonstrates that control over women's identities, sexuality, and labor has been central to the consolidation of state power. Sedghi links politics and culture with economics to present an integrated analysis of the private and public lives of different classes of women and their modes of resistance to state power.

Recent Iranian history has been full of unexpected turns. Whether it was the 1979 revolution, which resulted in the establishment of the first ever Islamic Republic in the history of the Muslim world, the rise to power of the reformist movement in 1997, or the emergence of the Green Movement, an opposition movement that took shape spontaneously in the days immediately following the presidential elections in June 2009, the world has been taken unawares at every juncture. This book brings together essays that both speculate on the import of the developments of 2009 and shed light on the complexities and the ever-changing dynamics of post-revolutionary Iran.